[Footnote 51: Mém., II., p. 10. He sometimes gave him good advice (I., p. 215) and Grétry embraced his views (III., p. 377).] [Footnote 52: Grétry, Mém., I., p. 270; cf. II., p. 331.] [Footnote 53: Grimm says, after the performance of "Le Huron" (Corr. Litt., VI., p. 34): "M. Grétry est un jeune homme qui fait ici son coup d'essai; mais ce coup d'essai est le chef-d'ouvre d'un maître, qui élève l'auteur sans contradiction au premier rang." His praise of the "Lucile".] [Footnote 54: Grimm, Corr. Litt., X., p. 228.] [Footnote 55: Grétry, Mém., I., p. 150.] [Footnote 56: He himself examines the grounds on which his music has become naturalised in France, "sans me faire des partisans enthousiastes et sans exciter des ces disputes puériles, telles que nous en avons vu (Mém., I., p. 169).] [Footnote 57: It is almost comical to observe the pertinacity with which the Grand-Opèra brought out its old pieces, to be as pertinaciously attacked by Grimm.] [Footnote 58: A collection of Klopstock's odes, set to music by Gluck has often been published; he had the "Herrmannsschlacht" ready in his head, according to his habit, but it was never written out. For Gluck's intercourse with Klopstock in Karlsruhe. (see Strauss, Kl. Schr., p. 42. p. 122) and the "Tableau parlant" (VI., p. 251) was equally strong, and he accompanied it with a respectful and appreciative criticism.] [Footnote 59: It is worthy of note how certain intellectual currents, running through an age, take simultaneous effect in different spheres. The tendency to individuality in art, to truth and nature, which was due to the encyclopedists, made itself manifest side by side with the principle of simple beauty which Winckelmann laid down as characteristic of ancient art.] [Footnote 60: Planelli, Dell' Opera in Musica (Neap., 1772), p. 148, approves of Gluck's principles, and the latter praises Planelli's performance of "Alceste"; Vine. Manfredini (Regole Arm., p. 163) takes much exception to it.] [Footnote 61: Schelle has (N. Ztschr. f. Mus., LIX., p. 42) published Calsabigi's letter (Mercure de France, Aug. 21,1784), in which the latter, who considered himself neglected, represents his relations with Gluck.] [Footnote 62: Mém. pour servir ä l'Hist. de la révolution opérée dans la Musique par Gluck, p. 8.] [Footnote 63: Calsabigi retracted his opinion on the opera in the letter prefixed to his "Elfrida" in 1794. At that time he believed in Paesiello as the true philosophical composer.] [Footnote 64: Berlioz rightly protests against Gluck's views (Voy. Mus., II., p. 269; X Travers Chants, p. 150). Cf. Hanslick, Vom Musikalisch-Schönen, p. 24.] [Footnote 65: A. B. Marx, Musik des neunzehnten Jahrh., p. 82.] [Footnote 66: Marx ibid., p. 183; he modified his opinion afterwards (Gluck u. d. Opera, II., p. 67. II.] [Footnote 67: It failed in Naples in 1774 (Galiani, Corr. inéd., II., p. 96).]